Deploying concepts of professional memory and communities of practice, this article draws on interviews with two generations of film projectionists in Brno in the Czech Republic to investigate the profession of film projectionist as a phenomenon at the boundaries of memory studies, sociology, social anthropology and film history. From this standpoint, a study of cinema employees’ professional memory revises and refines the concept of cinema memory as examined from the cinemagoer’s perspective. The article sets out the key tropes of projectionists’ memories and discusses them in the context of the legal background, professional status, standards of good practice and relationships within the professional community. Analysing the conditions under which the professional identity of film projectionist has been formed, it takes into account the current obsolescence of traditional screening techniques and analyses the significance of film screening quality and the related perception of the projectionist as a creator of a screening as significant motifs in projectionists’ memories.

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The studyexamines themodes of representationand communication of information through illustrativeteachingaidsin the 19thcentury. It focuses primarily on the didactic wall paintings and the tradition of lectures with slides and notes, how could the experience of these types of collectively observed images influence impressions and expectations of early film audiences. Didacticimagesare here analyzedprimarilyinterms oftheir compositional features (the arrangement of displayed objects within the frame), but in an effort to explain how processuality penetrated into the didactic image of the 19th century also with regard to the aspect of time. As a result, the study calls for a reassessment of the importance of the didactic wall painting in the formation of modern visuality and observational practices of the late 19th century.